On Thursday 14th May, Rivals cast Katherine Parkinson, Annabel Scholey, the creative team from Happy Prince, The Mayor of the West of England, RTS West of England and The Bottle Yard Studios hosted a special screening and panel in Bristol , in celebration of the regional impact of production in the area.
Production of the hit Hulu Original series, based on Dame Jilly Cooper’s beloved Rutshire Chronicles, is based at The Bottle Yard Studios (TBYS) in Bristol. With 95% of the locations featured in the series filmed within a 30-mile radius of TBYS, across Bristol, Bath and North East Somerset, South Gloucestershire and North Somerset, all supported by a network of Film Offices across the West of England. The hit series is produced by Happy Prince, part of ITV Studios.
Speaking ahead of the event, Deborah Armstrong, Country Manager, The Walt Disney Company UK & Ireland noted: “Rivals has captured the attention of the nation whilst showcasing the very best of British and Irish talent across cast, crew and beyond. The West of England, and Bristol in particular, have been integral to the show’s success.
“Disney is proud of the role we play in Bristol’s thriving creative ecosystem. Our presence spans the production of local Originals such as Rivals and National Geographic documentaries, as well as bringing audiences together through live experiences, including our recent sell-out stage show, The Greatest Showman.”
Helen Godwin, Mayor of the West of England, said: “The West Country is proud to be the real-life Rutshire, somewhere seen by people all around the world – and something which is inspiring more visitors to come to, and fall in love with, our region.
“We should celebrate the immense on-screen and off-screen talent that goes into making programmes like Rivals, and so it was really special to bring together so many of the people who made this production possible. Like Her Majesty The Queen, I was blown away last year while visiting Dame Jilly Cooper’s unrivalled universe first-hand at The Bottle Yard Studios in south Bristol.
“The economic impact of filming TV is huge for jobs and businesses in the West of England, which we want to super-charge through our new £25 million Creative Places Growth Fund. Rivals being made here has directly and indirectly helped add millions of pounds to the country’s fastest-growing regional economy. We look forward to continuing to work with Disney+, Happy Prince, and ITV Studios in the future to create more magic in our part of the world.”
Katherine Parkinson, West of England Mayor Helen Godwin and Annabel Scholey at the Rivals S2 Bristol Premiere (Photo Credit: Disney / West of England Mayoral Combined Authority / Freia Turland)
In a speech welcoming guests, including the Tourism Minister and the British Film Commission, to the West of England, the Mayor praised the Bristol City Council-owned Bottle Yard Studios and the network of supportive Film Offices run by local councils across the region, and the impact of skills programmes like All Set West – which saw local trainees take their first steps in the industry working on Rivals, learning from world-renowned cast and crew. She also made a plug for a pair of Rivals’ iconic red heels to find a home in Bath Fashion Museum when it reopens in the coming years.
Alexander Lamb, Executive Producer, Rivals and Creative Director at Happy Prince, added: “Both Rivals series 1 and 2 were entirely made possible by the talent, ingenuity, tenacity and good humour found in the West of England. Just like Declan O’Hara’s Venturer Television, Happy Prince are committed to showcasing the very best of the region, to bring its perfect locations and the work of it’s gifted crew to screen for the rest of the world to enjoy. We are eternally grateful for the continued warm welcome afforded to our cast and crew and hope to be making further series of Rivals in the West of England for many years to come.”
The Bottle Yard’s Head of Studios, Katherine Nash adds: “Rivals is a flagship scripted title for Bristol and the West, and what a pleasure it has been to celebrate this with Disney+ and the show’s brilliant cast and creative team this evening. A returning booking of this calibre is what every Studio and filming region aspires to secure and is testament to our world-class facilities and the responsive support of our Studios Team and regional Film Offices from early prep through to wrap.”
“Welcoming Happy Prince and ITV Studios back for Season 2 was an honour made all the greater by Her Majesty The Queen’s set visit during filming. The benefits this international hit is bringing to our film sector are substantial; from local crew and supply chain engagement, to supporting industry entrants through All Set West, spotlighting our stunning locations and driving wider economic spend across the region. The Bottle Yard is proud to be Studio home to Rivals, a West Country success through and through.”
Rivals S2 is streaming from 15th May on Disney+.
Building your first motion design portfolio can feel pretty overwhelming: should you play it safe, be radical, or stick somewhere in the middle? And what do you even include!?
Now, there’s a school of advice that tells you to be bold, expressive, and push the creative boundaries… But that can feel unhelpful, vague and, frankly, a bit intimidating.
Luckily, we’ve put together some more down-to-earth advice from people who’ve been in your situation and on the other side of the desk making the hiring decisions.
We’ll clue you in on what will stand out to prospective employers and none of it involves setting off fireworks or hiring a dance troupe (although if that’s your thing, don’t let us stop you)!
It might sound a bit over the top, but you need to start thinking of yourself as a bit of an entrepreneur. (I’m aware I’m sounding very tech bro here but stick with me…)
Start by asking yourself some key questions:
In simple terms, if you include a slick explainer video then you want your potential employer to look at it and go, “That’s what our clients need!” Because beyond being a brilliant creative, what it boils down to is employers envisioning a roster of happy clients willing to pay for lots of (your) work.
A real-world-ready portfolio is simpler to curate than you might think – it’s all about breaking it down into stages.
Showreels are a motion designer’s best weapon: you can show off a lot of work in one go. However, that doesn’t mean you should include everything you’ve ever made. Quality always trumps quantity here so only include the best scenes from your best work but consider whether your clips are demonstrating the complete range of your skills.
A good tip to help with this is to make sure you show off your editing and sound design skills. It can’t be stressed enough how much of a difference sound design can make. And the best part? So few people do it, so it’s an easy win that’ll really give you some edge!
Include any group projects if you have them, just make sure you’re clear on what your input was. A simple way to do this would be to add some small text in the corner while you’re showing clips from the project, for example: “Project XX -Illustration and animation” or “Project XX – editing”. Not only will this help prospective employers get a quick sense of your capability but also enforces your ability to work as part of a team.
And, as I was saying before, make sure to focus the work on those sellable skills: think explainer videos, motion for branding, video editing, 3D and so on.
If you’re still struggling on where to start, go onto the websites of the companies you’re applying to and look at their services. Does your work align with them and what they’re doing?
As much as I enjoy looking at finished motion graphics projects, unfortunately that’s barely 1% of a motion designer’s job. The other 99% is the process. Mood boards, sketches, storyboards, animatics, drafts etc are the job.
This is the section where the goal is to build trust with clients that you can actually do the job they’re hiring you to do. Like before, keep it concise and choose two or three projects that you can break down and explain how you got to the final outcome. Keep in mind these are also the projects they’ll most likely ask you about in your interview too.
The process behind our advert for Daikin’s sustainable network
This is also where you have the opportunity to tailor your portfolio. Do some research into the places you’re applying too, for example if it’s an agency, what services do they offer on their website? And if it’s a business, what sector do they work in? Then use this information to choose what work you show. Let’s say that creative agency focuses on branding, try to show some work that demonstrates you’ve got it covered, like logo animations, brand videos, or motion guidelines.
Whether or not you were confident enough to post yourself dancing on the internet back in lockdown and have grown a decent sized audience, leading with your social media accounts might not be the best idea in your portfolio.
If whoever is looking through your work clicks through to your profiles, you will have no control on what they look at. And that undermines all the careful work you’ve put in to crafting your application.
And let’s not forget when Instagram suddenly decided to change all posts to a different ratio (I don’t think many social media managers have still fully recovered from this). What I’m saying is, it’s not worth leaving how you show you work to platforms that can change overnight.
Now I’m not saying completely avoid AI altogether; to be honest a lot of companies will be looking for how you’re utilising it in your workflows.
Unsurprisingly, the recent School of Motion’s report, ‘The Motion Design Hiring Guide’, showed AI skills to be the fastest growing skillset employers ask for. And, far more interestingly, it came with an estimated~8-18% increase in wage.
In the creative industry, we’ve been working with AI for years (well before Will Smith attempted his first mouthful of spaghetti), so if you’re using AI in your final outcomes, we will be able to notice. And that includes in any supporting text too. Again, I’m not saying don’t use these tools, just be transparent when you are – and always avoid the press-a-single-button slop.
In short, treat your portfolio as your pitch. It’s not just a gallery of nice work; it’s proof of what you can offer. The clearer that is, the easier it is for someone to trust you and, ultimately, to hire you.
If you’d like to find out more about what we can do then take a look at our work or get in touch at [email protected].
Omni Productions is proud to announce that its impactful project, “AXA Safe Spaces,” has been named the winner of the Social Change category at this year’s Brand Film Awards, run by prestigious industry publications PRWeek and Campaign. Created for global insurer AXA, the project took top honors in a highly competitive category, successfully beating out exceptional shortlisted documentary series including inDrive and TED: My Big Idea.
AXA Safe Spaces is a pioneering web-based awareness and training program developed to help employers and employees create safe and supportive workplaces for people affected by domestic and sexual abuse.
While the website was initially created for internal use at AXA, it has now been made freely available to all employers and individuals globally. The program provides ready-to-use resources based on the practical 3R methodology: Recognise, Respond, and Refer. Through real-life stories and expert insights, the training equips individuals to recognise the signs of domestic abuse, respond with empathy and practical support, and accurately refer victim-survivors to appropriate professional services.
The initiative has already scaled significantly. AXA Safe Spaces is currently accessible worldwide, available in 11 languages, and has secured endorsements from major multinational companies including Accor, L’Oréal, Engie, Orange, Publicis, and LVMH. Building on the momentum of this award win, the team is actively working to expand the project’s global reach.
Work is currently underway to launch new versions tailored for the Korean and Turkish markets. Additionally, Omni Productions and AXA are currently developing a comprehensive set of FAQs for the site designed specifically for businesses and organizations, helping them better understand how to roll out the resource and effectively support their people.
For more information and to access the training, visit the AXA Safe Spaces platform.
Creative production company JonesMillbank and film studio Nine Tree Studios have rebranded as BLANKET™, bringing their offerings together under a single, unified identity.
The rebrand marks a significant milestone for the Bristol-based agency as it enters its 15th year, reflecting both their evolution and a growing demand for integrated production, studio, and equipment rental services.
“We found that studio clients didn’t realise we offered production or kit rental, and many of our production prospects didn’t know we had a studio,” said Russell Jones, Founder & EP. “The separation no longer made sense – it was time to bring everything together along with a complete refresh.”
The new brand, BLANKET™, reflects the agency’s holistic offering across film production, studio hire, and equipment rental, while positioning the agency more clearly within the wider creative and production landscape.
“We wanted something confident, distinctive, and easy to engage with,” said Rob French, Creative Director. “BLANKET is human, tactile and approachable, but also strong and flexible – something that reflects how we’ve always worked and where we’re going.”
The rebrand also signals a shift in how the agency operates. As projects have grown in scale, BLANKET™ has increasingly collaborated with freelance specialists and production partners, including supporting international production companies filming in the UK.
“Collaboration is already a much bigger part of our creative process,” said Adam Millbank, Founder & EP. “Whether it’s larger productions or studio dry hire, we’re working with a wider network of talented crew – from camera operators and gaffers to HMU, catering and runners. That’s only going to increase with the new brand and as the studio continues to become more established.”
BLANKET™ will continue to operate from its Bristol studio, serving clients across the UK and Europe, with a focus on commercial film production and studio-based work.
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BLANKET™ is a Bristol-based film production company, film studio, and kit rental house. Founded in 2011, the company works with brands and agencies across the UK and Europe including Dyson, Freixenet, DHL, Oxfam, Pukka and Vax.
www.weareblanket.com
+44(0)117 3706 372
[email protected]
Bristol Film Office has been shortlisted for the Film Commission of the Year Award (City/Region) at this year’s prestigious Global Production Awards.
Presented by Screen International, the industry awards take place annually to celebrate outstanding and sustainable work in the international world of film/TV production, locations and studios. Winners of the 2026 Global Production Awards will be announced on 18th May at the official ceremony at Cannes Film Festival, France.
The category recognises a film commission based in a city/region with “an established international reputation for exemplary service to productions, and a top filming destination of choice.” Judges look for evidence of “the Film Commission’s efforts to attract filmmakers, problem-solving approach, customer service, creativity, community contribution and why the location is proving so popular.” Also shortlisted in the category are Dallas (US), Edinburgh (UK), Humboldt-Del Norte (US), Ottawa (Canada), Savannah (US) and Toronto (Canada).
Councillor Tony Dyer, Leader of Bristol City Council, said: “This nomination is a testament to the strength of Bristol’s film and television sector and the outstanding work of the Bristol Film Office. Our city offers a unique combination of diverse locations, experienced crews and a supportive, film‑friendly approach, which continues to attract major productions from around the world. We are proud to see Bristol recognised internationally as a leading destination for film and TV, and of the role the screen industry plays in our creative economy.”
Adela Straughan, Bristol Film Office Manager (Bristol City Council), said: “We’re absolutely delighted to be shortlisted for this award. The volume, scale and quality of productions filming in Bristol year on year reflects the city’s continued appeal as a place to film, supported by a unique combination of diverse locations, strong studio infrastructure and an incredibly skilled local crew base. As a Film Office, we’re committed to championing these strengths while delivering a consistently high level of service and adding real value to every production we support. We’re proud to see this work recognised by the Global Production Awards.”
A division of Bristol City Council’s Film Services, Bristol Film Office has been assisting film and TV productions of all sizes to film smoothly on location in the city since 2003. It provides bespoke support at all stages of production, assisting with everything from initial location and crewing advice to recces, filming permits for Council-owned land, property and green spaces, and logistical requirements including street closures and parking, liaising with other Council departments. It also works closely with Visit Bristol to increase screen tourism in the city.
Throughout the Awards’ qualifying period (Sept 2024 – March 2026), a total of 18 High‑End TV productions supported by Bristol Film Office were broadcast, including Down Cemetery Road (Apple TV+), Young Sherlock (Prime Video), Rivals (Disney+), The Forsytes (5/Masterpiece), Agatha Christie’s Seven Dials (Netflix), The War Between the Land and the Sea (BBC/Disney+) and Prisoner 951 (BBC).
Image: Young Sherlock (Prime Video) films on Broad Street, Bristol. Credit: Dominic Parker
Set and filmed in Bristol, Surviving Earth, the debut feature from writer/director Thea Gajic, will be released in UK cinemas on 24th April 2026.
Based on a true story, the film is set in Bristol in 2015, and follows Vlad (Slavko Sobin), a Yugoslav refugee and gifted musician who fled to the UK in the 90s. Now rebuilding his life in Bristol, he longs to be the father his daughter Maria (Olive Gray) deserves, but the shadows of his past refuse to fade. When he forms a band to reconnect with his roots, music becomes his lifeline – a fragile bridge between who he was and who he wants to be. But as difficulties arise, old habits begin to resurface and Vlad risks losing it all. Can he find redemption through love and music, or will the past drag him down once more?
With the film’s lead character based on writer/director Thea Gajic’s father, Bristol Film Office supported Location Manager Andy Moore to gain access to as many of the real streets and buildings in the script as possible, including Clifton Village, the Corn Exchange, Clifton Downs, and four music venues in the city, including The Jam Jar and Thekla.
Describing the filmmaking experience, London-based writer/director Thea Gajic, a 2024 Screen International Star of Tomorrow, said: “The decision to film in Bristol was never in contention. Our story is set there, my dad lived there and it’s the city that holds the spirit of our film within its streets, culture and landmarks. We scouted lots of different locations, particularly Bristol’s extensive music venue scene. For our live music scenes we landed on Zion Community Cafe, The Jam Jar and Thekla – the latter two of which my dad and his band actually played on stage at. After wrapping in The Jam Jar, one of the venue staff was kind enough to gift me a poster from their gig.
“I really enjoyed transforming the old, unused offices at The Corn Exchange into our work-place set. Having access to film inside such an iconic location, full of true history and character was a real treat for us all. Bristol was ultimately another character in this film, its vibrancy informed our camaraderie, and its community adorned the film in ways another city couldn’t. I feel proud to have added to the memory bank of my father by choosing to shoot this film in Bristol and having met so many brilliant people along the way.”
Natalie Moore, Bristol UNESCO City of Film Manager says: “Although set in Bristol, Surviving Earth’s universal themes are relevant to audiences the world over, and as important today as any other period of history. Human resilience, healing through creativity and community, the shadow of trauma cast by war that impacts so many refugees forced to flee their countries for cities like ours, are all touched upon in this powerful film. We hope audiences in Bristol and beyond will go to the cinema to watch this poignant story, made in our city.”
Surviving Earth had its World Premiere at SXSW 2025 and was officially selected for San Francisco International Film Festival. It had its UK premiere at Edinburgh International Film Festival 2025 in July and went on to screen at Encounters Festival 2025 in September.
Surviving Earth is written and directed by Thea Gajic and produced by Aleksandra Bilic (My Accomplice) and Sophie Reynolds (Sona Films) with Jamie Clark (My Accomplice) executive producing, alongside Farhana Bhula and Louise Ortega. It is made with backing from BFI and Film4 and distributed by Metis Film.
Surviving Earth opens in UK cinemas on 24th April 2026.
(Image courtesy Metis Films)
The third and final term of comedy-drama Boarders is now available to watch on BBC iPlayer, drawing to a close the Bristol-made coming-of-age hit, which has filmed at The Bottle Yard Studios and on location with Bristol Film Office support since 2023.
Created and written by the BAFTA-nominated Daniel Lawrence Taylor, who also co-stars in the series as Gus, Boarders is produced by Studio Lambert in association with All3Media International for the BBC. Tubi in North America and LATAM and Germany in ZDF are the shows key international partners.
Series one filmed in Bristol in Summer 2023 and following the success of its release the following year – with critics praising its sharp humour, engaging performances, relatability and heartfelt exploration of institutional racism and class – its producers returned to Bristol to film two further series in Summer 2024 and 2025.
The show’s second series won the coveted Scripted Award at the 2025 RTS West of England Awards, whilst Josh Tedeku won the prestigious Breakthrough Award at the 2025 RTS Programme Awards. Casting director Rosalie Clayton also won the Casting Award at the 2024 RTS Craft & Design Awards.
For Series three, The Bottle Yard Studios hosted interior sets for a key school equipment room (which two characters get locked inside), as well as green screen filming and an exterior scene shot in the Studios’ Back Lot.
In the city, the main location was the same Bristol school that featured in previous series, and Bristol Film Office assisted filming on Clifton’s streets and additional locations including Caribbean Croft restaurant in Stokes Croft, Portland Square in St Paul’s, UWE’s Frenchay campus, a private residence in Coombe Dingle, Redmaid High School’s Sports Ground in Henbury and Ashton Court Estate.
Madeleine Sinclair, Studio Lambert Creative Director for Scripted and Executive Producer for Boarders said: “We’ve had a brilliant experience filming in Bristol over the last three years. It’s proved to be both a fantastic base for cast and crew and a wonderfully film-friendly city. Bristol Film Office were hugely helpful and supportive when it came to filming in and around Bristol.
“With The Bottle Yard Studios, we once again had a great base for our production offices during prep and space for interior sets, green screen filming and exterior locations. We feel very lucky that we’ve been able to work with so many talented local crew members, at all levels of experience and to be able to have offered training opportunities where we can. We’ll miss coming to Bristol this summer, but we hope to be back soon!”
Location Manager Cara Wiltshire added: “From a location’s perspective, returning to Bristol for Boarders S3 was a fantastic experience. With The Bottle Yard Studios as our production base, we were able to efficiently coordinate filming across a wide range of locations throughout the city, making the most of the incredible variety Bristol has to offer on screen.
“Working in Bristol is always enjoyable, and the support from both the Studios team and the Bristol Film Office makes a real difference on the ground. Their understanding of the practical needs of production, combined with their proactive and collaborative approach, helps ensure that filming across the city runs smoothly. The people leading both organisations are a genuine pleasure to work with, and their ongoing support makes Bristol a great place for location teams and productions alike.”
Similar to previous series, around 90 people per day worked on the third series, with over 70% of the crew local to the region. The production team again hosted trainees across different departments and was actively engaged with the All Set West programme at The Bottle Yard Studios. This included offering placements to two Trainees in two departments and providing work experience opportunities for five people in the Art Department.
21-year-old Trainee Jae (they/them) from South Glos, who completed their first on‑set experience, said: “Everyone was so lovely and welcoming and I had a blast! It solidified that I want to go down the Art Department route.” Sophie Kirk, a previous All Set West Alumni, also joined the crew as Art Department Assistant via the Screenskills Trainee Programme.
There were a number of other work experience participants from local colleges who experienced week-long placements during the shoot. Bristol company Latent Pictures, which works with underrepresented filmmakers, once again produced ‘behind the scenes’ footage for the series, after working with Studio Lambert on the previous two series.
Adela Straughan, Bristol Film Office Manager, added: “From the moment Boarders arrived in Bristol, seeking the perfect school location, they have showed exemplary engagement in our local film sector. The whole premise of the show is about access to opportunity, and the production team has championed this on both sides of the camera, putting inclusion and diversity at the heart of their creative and production processes. We’re proud that Boarders came to Bristol and made the most of our city’s locations. Its presence here has been a significant boost for our creative economy, workforce and early-stage crew.”
Katherine Nash, Head of Studios, The Bottle Yard Studios said: “Returning series like Boarders are so important for our regional film sector. They provide returning employment and workflow for crew and companies, and career development and progression for freelancers. In the studio and on location, Studio Lambert have embraced the opportunity to engage locally on every level, giving opportunities to our All Set West Trainees and employing local creatives and companies for different parts of their workflow. We are sad to see the Boarders era come to an end with this final series but hope to welcome Studio Lambert back to The Bottle Yard in the future for more exciting work.”
Series 3 – What’s in store?
Series 3 sees the Boarders return to St Gilbert’s where the pressure is on. They’ve made it to the final term and exams are looming. Their sights are set on big futures but new dramas are erupting everywhere. A shocking school rivalry brings violence, love triangles and shattered friendships. Can the scholarship kids conquer the madness to come out on top?
The final series introduces a host of new characters to St Gilbert’s, played by an exciting line-up of talent. New cast members include: Rufus Jones (Rivals) as Cheddar’s MP father George Tramley; Patrick Baladi (Breeders) who joins as Carol’s ex Alfie Watlington-Geese; comedian Fatiha El-Ghorri (Taskmaster) as Mrs El-Fassi a formidable rival headmistress; Kenyah Sandy (Small Axe, Highway to the Moon) stars as Leah’s new love interest Benjamin; Daisy Jacob (Tell Me Everything) plays Pixie, a new girl who quickly catches Femi’s attention; Louis Thresher (Coven Academy) appears as Jonny, Omar’s new friend who wants to be more than just friends and Nagaieh Dad joins as Yusef, an unpredictable agent of chaos who pulls Abby into his orbit.
Boarders is created by the BAFTA-nominated Daniel Lawrence Taylor, who serves as lead writer with Cherish Shirley, Temi Wilkey, Alex Straker, Emma Dennis-Edwards and Yemi Oyefuwa writing additional episodes. Boarders is produced by Studio Lambert in association with All3Media International. It is directed by Yero Timi-Biu (Three Little Birds) and Satya Bhabha (Big Door Prize, Gossip Girl, Love Life) with Ali MacPhail returning as the producer and Carleen Beadle-Larcombe as line producer. Mykaell Riley also returns as musical director. The executive producers are Daniel Lawrence Taylor and Madeleine Sinclair for Studio Lambert, and Nawfal Faizullah and Katherine Bond for the BBC.
Returning cast from series two also include Niky Wardley (Carol), Assa Kanouté (Abby), Tallulah Greive(Beatrix), Rosie Graham (Florence), Georgina Sadler (Mabel), Kendra Brown (Devonyé), Zheng Xi Yong (Xiang), Archie Fisher (Cheddar), Andrew Harmon-Gray (Graham), Ruxandra Porojnicu (Yelena), Maxim Ays (Felix), Al Foran (Stanley), William Andrews (Mackers) and Yuriri Naka (Ms Kaneko).
Series three of Boarders is available now on BBC iPlayer.
New psychological detective drama Gone starring Eve Myles and David Morrissey is now available to watch on ITV and ITVX, after filming in and around Bristol last year.
Set in Bristol, Gone is written by acclaimed screenwriter George Kay (The Long Shadow, Hijack, Lupin) and directed by Richard Laxton (Mrs Wilson, Burton and Taylor, The Thief, His Wife and the Canoe, Joan).
The fictional six-part series is partly inspired by the book “To Hunt a Killer” and the career and work of respected former Detective Superintendent for Gloucestershire Police, Julie Mackay, and ITV Crime Correspondent Robert Murphy, who has reported on some of the biggest and most complex cases in the West of England. Both Mackay and Murphy serve as consultants on the series.
Filming took place between March and July 2025, with production based The Bottle Yard Studios where bespoke sets were built for ‘Redland Police Station’ and various interiors of lead character Michael Polly’s (David Morrisey) home. A core crew of almost 100 worked on the production full time during the shoot.
On location, Bristol Film Office supported filming at locations including a café on Queen Square Avenue, a restaurant on Queens Road in Clifton and a property on Clifton’s Richmond Hill Avenue which provided exteriors for ‘Redland Police Station’. DoubleTree by Hilton Hotel in the city centre provided the setting for the police station’s press room whilst premises on Berkeley Square doubled for ‘Atherman Financial Offices’. Filming also took place at Downer School in Stratton-the-Fosse and in the village of Saltford, supported by Bath Film Office.
At an exclusive RTS West of England preview screening and Q&A on 2nd March at Everyman Bristol, BAFTA-winning director Richard Laxton, who filmed Bristol as London for BBC black comedy Rain Dogs in 2022, said: “It was great being back to film the city as itself this time. I love shooting in Bristol because it’s such a great city to film in, the hills and topography make it very interesting. We used the [Clifton Suspension] Bridge as a way to speak to the two different worlds of the school and the city.”
Executive Producer Matt Sandford added: “The geography gives you so much to play with. You can be in the centre and then drive ten minutes out and experience a totally different landscape. And of course, Bristol is one of the leading hubs for making TV in the UK.”
Speaking about the shoot, actor David Morrisey said: “I’ve not been to Bristol much before, but I’ve loved being here. It’s a great city; vibrant, cultural, and very beautiful to look at. We’ve been filming at Bottle Yard Studios, but also on location at Downer School, which is between Bristol and Bath. We had to film in the school during the Easter holidays, and pupils from the school helped us, which was really great. They had to do a lot of rugby, and they were brilliant.
Gone is a chilling mystery focuses on local Headmaster Michael Polly, played by David Morrissey (The Long Shadow, Sherwood), who becomes the prime suspect in his wife Sarah’s disappearance. An upstanding member of the community, Michael Polly is inscrutable and likes order and precision in his working life. Until, that is, he encounters super bright, gutsy Detective Annie Cassidy, played by Eve Myles (The Crow Girl, Hijack) and a compulsive game of cat and mouse begins as she chips away at his veneer in search of the truth. Beneath the surface of the mystery, lies a deeper exploration of trauma, trust and the legacy of elite institutions.
The series also stars Jennifer Macbeth, Arthur Hughes, Nicholas Nunn, Elliot Cowan, Billy Barratt, Rupert Evans, Jodie McNee, Oscar Batterham and Clare Higgins.
Gone is produced by Mark Hedges (Hanna, The Rising). The executive producers are George Kay, Richard Laxton, Golden Globe and BAFTA-nominated Willow Grylls (Des, The Missing) and BAFTA-nominated Matt Sandford (The Long Shadow). It is co-produced by New Pictures (an All3Media company) and George Kay’s Observatory Pictures, in association with All3Media International.
Episodes of Gone are airing weekly on ITV every Sunday and Monday at 9pm between 8th – 23rd March 2026. All episodes are available as a box set on ITVX from 8th March.
(Image courtesy ITV)
Director Guy Ritchie’s highly anticipated Prime Video series Young Sherlock starring Hero Fiennes Tiffin launched worldwide on 4th March, and Bristol locations played a crucial role in bringing the action-packed mystery to screen.
The eight-part blockbuster series was part-filmed on location across Bristol for five months between September 2024 and January 2025, supported by the city’s Film Office. Bristol doubles as 1870’s Oxford in the series, which charts the origin story of the world’s greatest detective, as he’s drawn into his first-ever murder case at Oxford University.
An extensive shoot saw Bristol’s streets go back in time, with Broad Street serving as a primary location, transformed into a bustling period street adorned with 19th century shopfronts for an assortment of traders including florists, butchers, barbers, taxidermists and printers. Small Street, All Saints Lane and Corn Street near St Nicholas Markets, Portland Square, Queen Square and Frog Lane were all similarly dressed.
Tarmac was overlaid with mud for authenticity, and horses and carriages lined the streets between takes. Other period touches included tram stops, vintage lampposts, newspaper sellers, market stalls and carts. Upwards of 110 cast and crew worked on location sets per day, with some scenes featuring up to90 supporting artists in full costume at a time. On the busiest days, caterers served more than 300 cast, crew and supporting artists combined.
Interiors and exteriors of The Georgian House Museum on Great George Street were used for the Oxford House of one of the lead characters, and Bristol Cathedral and Choir School doubled for the exteriors of an Oxford Concert Hall.
Young Sherlock filming on Broad Street in Bristol’s Old City (credit: Dominic Parker)
Another prominent location was Underfall Yard and the adjacent docks in the heart of Bristol’s floating harbour, which hosted filming for two major stunt scenes. The historic boatyard, which has been fundraising since 2023 to complete recovery and reinstatement works following a devastating arson attack, was connected to the production team by Bristol Film Office, and income brought in by filming has made a significant contribution to the site’s reconstruction.
In one Underfall Yard scene, two characters follow one of Young Sherlock’s protagonists down an alley and into an old iron works (the Blacksmith’s workshop) where he ambushes them, and a hand-to hand duel till the death breaks out.
In another scene, Young Sherlock’s heroes ‘do a runner’ from the police who are in hot pursuit. They spot a cattle pen, bolt through the gate, releasing the cattle who then stampede, scattering the police in all directions, allowing the heroes to escape safely.
Deon Du Preez, Supervising Location Manager, says: “Bristol played a crucial role in creating Young Sherlock’s world. Historic Old City areas around St Nicholas Market, Broad Street, Corn Street and All Saints Lane require very little period set dressing to recreate a 19th century London setting – whilst being just as capable of doubling for a contemporary London environment. Bristol is well equipped to accommodate large-scale film and television productions, with well-established infrastructure capable of supporting multiple shoots simultaneously across the city. This architectural versatility combined with the comprehensive support productions receive from the Bristol Film Office and local authority partners makes Bristol an attractive location destination for filmmakers.”
Adela Straughan, Bristol Film Office Manager says: “Bristol really rose to the challenge for Young Sherlock, and the benefits of filming reach far beyond the direct spend of the production at the time of the shoot. Shows like Young Sherlock inspire people to get out and discover the locations they’ve seen on screen, whether it’s a walk through the Old City’s streets combined with a visit to St Nicholas Markets, or a stroll around the harbour to stop in at Underfall Yard and appreciate its preserved Victorian surroundings whilst grabbing coffee or a bite to eat in the café. Increased footfall from screen tourism benefits local traders, hospitality venues and heritage sites and visitor destinations, strengthening Bristol’s economy and its reputation as a vibrant destination for both filming and tourism.”
Sarah Murray, Director of Underfall Yard, says: “Hosting Young Sherlock was a resoundingly positive experience for us, primarily because our lost income stream for the year was almost directly replaced by income from filming hire. Not only that, it was really fun for the team! Witnessing the Yard dressed to look completely different, with horses and cows brought in, was really exciting and gave a rare insight into the creativity that goes on behind-the-scenes. Walking onto a film set every day, seeing things most people don’t get to see, like getting to watch while the special effects were tested, made for an eye-opening experience.
“Hosting the shoot brought other benefits too, from practical measures like 24-hour site security, to added exposure which is invaluable when running a heritage site like this. We were able to share the Yard’s story with hundreds of people working here each day across different departments, many of whom hadn’t visited before. We’re grateful to the incredible Location Managers who were closely connected with residents nearby and made every effort to minimise disruption, even making a donation to the local community group.
“Becoming a filming location is quite a whirlwind – the film company turns up and within days have completely transformed your surroundings, but by the time they leave, everything has been put back to how it was. It made us realise how well placed we are to host this type of spectacular shoot, and we’re excited to explore the screen tourism potential of being an official Young Sherlock location now the show is being released.”
About Young Sherlock
With all the wit and charm of Guy Ritchie’s Sherlock Holmes features, Young Sherlock is an irreverent, action-packed origin story of Sir Arthur Conan Doyle’s beloved detective in an explosive re-imagining of this iconic character.
When a charismatic, youthfully defiant Sherlock Holmes (Hero Fiennes Tiffin) meets none other than James Moriarty (Dónal Finn), he finds himself dragged into a murder investigation at Oxford University that threatens his liberty. Sherlock’s first ever case unravels a globe-trotting conspiracy, leading to an explosive showdown that alters the course of his life forever. Unfolding in a vibrant Victorian England and adventuring abroad, the series will expose the early antics of the anarchic adolescent who is yet to evolve into Baker Street’s most renowned resident.
Other cast includes Zine Tseng (3 Body Problem), Joseph Fiennes (The Handmaid’s Tale), Natascha McElhone (Halo), Max Irons (Condor) and Colin Firth (The King’s Speech). Guy Ritchie directs the first two episodes and executive produces.
Young Sherlock is created for television and executive produced by showrunner Matthew Parkhill with executive producers Dhana Rivera Gilbert, Marc Resteghini, Simon Maxwell, Ivan Atkinson, Simon Kelton, Colin Wilson, and co-executive producers Harriet Creelman and Steve Thompson. Motive Pictures led physical production for Young Sherlock.
In addition to Bristol, South West filming also took place in nearby Somerset with Film Office support. Production was based in Wales and locations further afield included Oxford, London and Spain.
Young Sherlock is now available to stream on Prime Video.
A new podcast series, Nothing, Something Nothing, has launched from Nine Tree Studios, Bristol.
The series explores how people approach creativity, are inspired, and develop their creative practice.
It’s about the creative moments you didn’t know you missed. It’s about the space between ideas, and the highs and lows that shape creative work.
It’s sector-agnostic with some high-calibre guests from the worlds of music, food, art, business and design.
Season 1’s guests include Lee Kiernan (Guitarist, IDLES), Calum Franklin (Restaurateur, Harrods), and Alex Rodrigues (Producer/Director, Channel 4).
And – as a Bristol Creative Industries exclusive – the podcast will also be dropping an episode with Mike Bailey (Actor/Teacher), known for his role as Sid in Skins.
New episodes drop every Wednesday on your favourite platform; visit www.nsnpodcast.com to listen and subscribe on Spotify, Apple Podcasts, and YouTube, as well as on social.
The podcast has launched from production company JonesMillbank and Nine Tree Studios, with recording currently taking place in Bristol.
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JonesMillbank are a full-service production company based at Nine Tree Studios, their 10,000sq ft film studio.
Producing branded content, TV ads and social content their clients include local, global and household brands such as Dyson, Freixenet, DHL, Oxfam, Pukka and Vax.
jonesmillbank.com
01173706372
[email protected]
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